Identifying Daš Maštis in Pre-Revolutionary Iranian Cinema: A Linguistic-Semiotic Study
DOI:
https://doi.org/10.46991/jil/2026.01.03Keywords:
Daš mašti, Film-Farsi, Heteroglossia, Iconization, Iranian cinema, Javanmardi, SemioticsAbstract
This study investigates the semiotic and linguistic construction of daš maštis-urban masculine figures that became prominent in mid-twentieth-century Iranian popular cinema within the broader cultural, social, and historical framework of Film-Farsi.
Drawing upon the theoretical insights of Christian Metz, Roland Barthes, and Mikhail Bakhtin, the article examines how cinematic language produces and circulates ideology through intricate sign systems, embodied gestures, and vernacular speech. Through close analysis of canonical films such as Qaysar (1969), Daš Akol (1971), and other representative works, the study demonstrates that the daš mašti functions simultaneously as a linguistic, moral, and cultural signifier. Specifically, the research investigates linguistic features such as phonological variation, lexical creativity, idiomatic expressions, pragmatic markers of solidarity, and stylistic deviations from standard Persian, showing how these elements construct group identity and perform masculinity on screen. Employing a linguistic-semiotic approach, the study reveals that the daš mašti embodies a hybrid discourse-a synthesis of urban colloquial speech, moral codes associated with javanmardi, and performative markers of masculinity-that mediates between cinematic representation and prevailing social norms.
Moreover, it highlights how their figures articulate tensions between modernity and tradition, authority and rebellion, and individual desire and communal expectation.
Ultimately, the article argues that the daš mašti in pre-revolutionary Iranian cinema is not merely a cinemativ archetype or folkloric trope, but a complex social-linguistic construct through which cultural identity, morality, and ideological negotiation are expressed, contested, and disseminated to audiences, offering critical insight into both the filmic imagination and the socio-cultural dynamics of the era.
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Copyright (c) 2026 Noonik Darbinyan
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